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Inner Magazine (www.innermagazine.org) is an international peer-reviewed journal. The aim of the magazine is to investigate debate and reflect on the interior architecture in all its different aspects.
We want to promote the cultural exchange between disciplines as interior architecture has close connection to the art, the psychology and the social contest opening the magazine to the entire researcher in the field of interiors.
We want to promote the innovation inside interiors giving a high end position to the article that will show it.
We are looking for contributors for next issue that will be published on December 2018.
The deadline for this issue is: 1 September 2018
The interested contributors are highly encouraged to submit their manuscripts/papers to the executive editor via e-mail at submission@innermagazine.org
In order to better organize the publication, a notification of interest before sending the complete paper is appreciated, but not obligatory.

Submission Policy

Papers submitted to Scientific Research Publishing must contain original material. The submitted paper, or any translation of it, must neither be published, nor be submitted for publication elsewhere. Violations of these rules will normally result in an immediate rejection of the submission without further review.

Contributions should be written in English and include a 100-300 words abstract.

All manuscripts and any supplementary material should be submitted to submission@innermagazine.org

All manuscripts submitted for publication in our magazine are strictly and thoroughly peer-reviewed. The review process is single blind.

After a manuscript is accepted for full review, the Editor will collect review comments and prepare a decision letter based on the comments of the reviewers (finished no more than 4 weeks after preliminary review). The decision letter is sent to the Corresponding Author to request an adequate revision.

This article is available in Italian. For the sake of viewer convenience, the content is shown below in the alternative language. You may click the link to switch the active language.

ICDHS 2018, 10+1 Back to the Future, the Future in the Past
È aperta la call per l'11a edizione della conferenza internazionale ICDHS che nel 2018 sarà dedicata al tema della relazione fra Futuro e Passato e alla riflessione su quanto è stato fatto nell'ambito degli studi storici e del design nell'arco di venti anni. Simbolicamente, la conferenza si terrà a Barcellona, la città in cui nel 1999 si tenne la prima edizione di ICDHS.
La scadenza per la consegna delle proposte è il 18/12/2017.
“The 2018 event is rather special. The Taipei 2016 conference was the 10th edition and a commemoration of the 10 celebrations took place then and there. Returning to Barcelona in 2018 symbolizes and marks the end of one stage and the beginning of a new era for the committee. The numbering chosen, "10 + 1", means that Barcelona 2018 is both an end and a beginning of stages within the ICDHS’s own history.
In coherence, several research lines proposed for strands refer to the legacy of these conferences, reminding new audiences of previous editions and areas of research already worked on. It is therefore a question of taking stock and exploring what has been these conferences’ real legacy. Revision represents a promise for the future and also considers the continuity of these conferences in the immediate future, foreseeing already on themes and issues for next venues.”
La call e maggiori informazioni sono disponibili al sito http://www.ub.edu/icdhs/barcelona10+1/comittees-comites

MoMoWo Symposium 2018International Conference | Women's Creativity since the Modern Movement (1918-2018): Toward a New Perception and Reception
Women’s Creativity since the Modern Movement - MoMoWo is a large-scale cooperation cultural project co-funded by the Creative Culture Programme of the European Union, coordinated by the Polytechnic of Turin and launched in 2014.
MoMoWo considers an issue of contemporary cultural, social and economic importance, from both a European and an interdisciplinary perspective, women’s achievements in the design professions.
After almost four years of successful project activities, and in accordance with the MoMoWo mission, the International Conference | Women’s Creativity since the Modern Movement (1918-2018): Toward a New Perception and Reception continues to increase the visibility of creative women, to foster in Europe and beyond interdisciplinary and multicultural approaches to the study of the built environment "from the spoon to the city", and to facilitate the exchange of research results and professional practices in the fields of architecture, civil engineering and design.
Topics:
A. Women’s education and training. National and international mappings
B. Women’s legacy and heritage. Protection, restoration and enhancement
C. Women in communication and professional networks
D. Women and cultural tourism
E. Women’s achievements and professional attainments. Moving boundaries
F. Women and sustainability
G. Women ”as subjects”. Documentation, methodology, interpretation and enhancement
1. Design drawings
Deadline for Abstracts submission is 31st October 2017 http://www.momowo.eu/symposium/

Call for papersMuseums in Europe in the Interwar Years. The Madrid Conference of 1934: An International DebateInternational Conference Università degli Studi di Torino, Politecnico di Torino: February 2018 Submission deadline: 15th October 2017
The International Conference Muséographie, architecture et aménagement de musées d’art, organised in Madrid in October 1934, was a turning point in the reflection on museum arrangement and display practices in Europe and the United States, a debate that was already central to the work of the newly founded Office International des Musées which promoted it. As the pages of Mouseion journal, the institution bulletin whose publication had started in 1927, the conference proceedings constituted a repertoire of the topics under examination in the most recent museum studies and a handbook for state-of-the-art arrangements also overseas. For the first time, museums and displays pertaining different fields of knowledge could be compared, from art history, to archaeology, to anthropology.
The subjects systematically addressed ranged from artificial lighting, to the survey of the visitors’ reactions and duration of their visit. Moreover, the creation of scientific and restoration laboratories, along with libraries, within museum spaces was highly recommended.
A few years after the first world conference of library science (Rome 1929), the close relations between libraries and museum institutions was indeed one of the themes the new museology was focusing on.
Although recently already considered in some international studies, the matters dealt with in the Conference, as well as their reception, can be further delved into with a premium on disciplinary circularity. The anastatic edition we are working on and which will be available by the date of the symposium, improved with annotated indices that help its consultation, is intended as a tool for documentation and study of the debate on museums.
At almost a century from the Conference, this symposium proposes a series of considerations on a broad spectrum that relate different disciplinary paths to the critical debate on the identity and purposes of museums, also offering new perspectives on the contemporary world.
The proposals, which could revolve around both single permanent and temporary exhibitions, and diachronic analyses, may concern the following areas:

Time and museums: contextual museums and new museums between tradition and modern innovation;

Museums and nations: policies, delegations and stakeholders. The critical debate;

Museums and the disciplines of knowledge: new narratives, types and forms;

Museums and spaces: display practices and museum technology;

The Museum and its visitors: exhibitions, dissemination and reception;

This article is available in Italian. For the sake of viewer convenience, the content is shown below in the alternative language. You may click the link to switch the active language.

CALL FOR PAPERS 3rd MOMOWO CONFERENCE-WORKSHOP
2nd- 4th October 2017
Historical Building, University of Oviedo, Spain
For its third conference-workshop to be held in Oviedo, Spain, between 2nd and 4th October 2017, the project Women’s Creativity since the Modern Movement - MoMoWo welcomes papers addressing themes and subjects on the activities and lives of women designers, architects and civil engineers between 1969 and 1989. The conference-workshop will provide an opportunity to discuss the professional experiences of European women active within various fields of design. The workshop is addressed to both, scholars and students.
In most European countries, the period between 1969 and 1989 was influenced by the Cold War and the disintegration of the Communist Bloc. This period also witnessed the consolidation of the European Union -with new countries joining the EU-, and the Independence processes of several former colonies. The events of May 1968 triggered a new social awareness in the continent, which was now committed towards social and ecological issues. In the field of architecture, post-modern tendencies started to flourish.
We propose to explore the following topics as a starting point for future research:

POLITICS, POLICIES AND POLITICAL REGIMES

What was the position of women architects and designers in different political regimes and how did it compare? How was it incorporated into state policies? Did any particular “female specializations” within the fields of architecture, design, urban planning, civil engineering etc. emerge in this period? If so, what were their characteristics and how were they encouraged? What role did they play in conservation and restoration of architectural heritage? (How) did they negotiate with the gender bias in their profession? Were there links with non-European countries (e.g. the United States, former colonies)?

RESEARCH AND INDUSTRIES

What was the role of women in developing social housing projects, how were they involved in research and studies of interior design according to human scale? What position did they take in the developing field of industrial design? Papers on civil engineering, exploring women's involvement in creation of new construction techniques and development of materials will also be most welcomed.

EXHIBITIONS AND COMPETITIONS

What was the role in competitions and the main exhibitions during those years? Were they members of the jury? Did they achieve awards or a sort of recognitions? What was the media repercussion of their participation in those events?

EDUCATION AND PUBLISHING

What access did female students have to schools of architecture, design and building engineering? Did they experience any obstacles? How were women professionals included in the education process and how were they represented in the academia? What are the characteristics of their affiliation with professional architectural publications (journals, magazines) either as contributors or members of editorial boards?
Presentations should be delivered in English and not exceed 20 minutes. Peer-reviewed articles based on conference-workshop presentations will be published as an edited open access e-book (in Spring 2018), which will include recorded presentations and discussions.
SUBMISSION DEADLINES:
Deadline for submission of abstracts (in English, 300 words max.): 30th May 2017.
Deadline for submission of articles (in English, 5000 words max.): 15th September 2016.
Please send your proposals and contact details on the submission form provided (also available from http://www.momowo.eu/activities/historicalworkshops/)
to: artscrafts@uniovi.es
The 2017 conference-workshop will be the third of three historical workshops. The first, focusing on women's creativity between 1918-1945 was held in Leiden (23rd -25th September 2015) and the second conference-workshop covering the period 1946-1969 was held in Ljubljana (3rd-5th October 2016).
MoMoWo, Women’s Creativity since the Modern Movement is an EU cooperative research project under the Creative Europe Culture Sub-Programme. Participating partners come from six European universities: Politecnico Torino, Turin, Italy; Universite Grenoble Alpes, Grenoble, France; VU University, Leiden, The Netherlands; lADE-U-Creative University, Lisbon, Portugal; Znanstvenoraziskovalni center Slovenske akademije znanosti in umetnosti, Ljubljana, Slovenia; Universidad de Oviedo, Oviedo, Spain.
MoMoWo deals with the cultural, societal and economic importance of women's achievements in the traditionally male fields of architecture, interior and industrial design, landscaping and urbanism. The aim of MoMoWo is to present an important part of the »anonymous« European 20th century cultural heritage created by women, who were active in these disciplines. The project will also support, promote and adequately asses the achievements of the contemporary generation of female creators and help pave the way for future generations of women in the creative fields. For further information on the project visit www.momowo.eu.
[gview file="http://www.aisdesign.org/aisd/wp-content/uploads/2017/05/MoMoWo_Call-for-Paper_3rd-Intern-Conf.pdf"]

We received, and are happy to publish and share, a short article that Victor Margolin – the author, among other things, of the World History of Design (Bloosmbury, 2013) – wrote in 2016 on the occasion of the ICDHS conference in Taipei. In this text Margolin reflects on his ongoing contribution to the expansion of the scope of Design History and on the role that such conferences as ICDHS play in this direction.
The text is featured in the “On design history” section of the AIS/Design’s website: http://www.aisdesign.org/aisd/en/icdhs-storia-memorie

This article is available in Italian. For the sake of viewer convenience, the content is shown below in the alternative language. You may click the link to switch the active language.

Call for Papers:
Making and Unmaking the Environment
Design History Society Annual Conference 2017
University of Oslo, 7-9 September 2017
Design and designers hold an ambiguous place in environmental discourse. They are alternatively being blamed for causing environmental problems, and hailed as possessing some of the competences that could help solving those problems. Despite this long-standing centrality of design to environmental discourse, and vice versa, these interrelations remain underexplored in design historical scholarship.
Confirmed keynote speakers:
Simon Sadler – University of California, Davis
Jennifer Gabrys – Goldsmiths, University of London
Peder Anker – New York University & University of Oslo
Half a century ago, Leo Marx coined the phrase ‘the machine in the garden’ to describe a trope he identified as a prominent feature of 19th and early 20th century American literature, in which the pastoral ideal is seen as disturbed by the invasion of modern technology. Marx subsequently shifted perspective from this fascination with ‘the technological sublime’ to a deep concern for the environmental ramifications of technological progress. The question of how we as society deal with the allegorical machine in the proverbial garden is more relevant than ever.
Design is both making and unmaking the environment. Conversely, it might be argued that the environment is both making and unmaking design. This conference seeks to explore how these processes unfold, across timescapes and landscapes, thus opening a new agenda for the field of design history. Design thinkers from John Ruskin and William Morris to Richard Buckminster Fuller and Victor Papanek and beyond have grappled with the intricate and paradoxical relations between the natural environment and the designed environment. From Ghandi's India to Castro's Cuba, design policy has been enmeshed in concerns for its environmental ramifications. From prehistoric stone implements to contemporary nanotechnology, design has been key to shaping our environment.
In the anthropocene, we can no longer talk about design (and) culture without also talking about design (and) nature. The conference theme is intended to stimulate new directions in design historical discourses that take seriously design’s complex interrelations with nature and the environment. Not only does design feature prominently in the making and unmaking of the environment; studying the history of these processes will also help reveal how the idea of the environment itself has been articulated over time. Engaging with issues of environmental controversies and sustainable development can move design history beyond its conventional societal significance, and may thus enable more resilient futures.
Relevant topics include, but are not limited to:
- Design and consumption
- Repairing, fixing, mending
- Design in nature
- Design of nature
- Histories of sustainable design
- Histories of unsustainable design
- Environmentalist movements and design
- Design movements and the environment
- Durability and ephemerality
- Impacts of materials and manufacturing
- Imaging nature(s)
- Greenwashing & greenwishing
- Designs on the Anthropocene
- Politics and policies of sustainable design
- Design and alternative energy
- Designing doom and gloom
- Designing technofixes
- Appropriate technology
- Eco-modernism vs. green conservatism
- Eco-fiction/Eco-topias
- Deep ecology as design philosophy
- Traditional design for resilient futures
- Visual culture of the environmental crisis
- Waste and afterlives
- Silent springs and atomic winters
- Social sustainability
- Ecology and systems design
- Navigating spaceship earth
- Earthships and biodomes
- Biomimicry and generative design

Special anniversary strand: Making and Unmaking Design History2017 marks the 40th anniversary of the first Design History Society Annual Conference, held in Brighton in 1977, as well as the 30th anniversary of the Journal of Design History. In celebration of this landmark, we invite proposals for papers addressing the historiography of design and the history of the discipline, with the aim to curate a special anniversary strand on the making and unmaking of design history.
We are inviting proposals for individual papers of 20 minutes, or proposals for thematically coherent panels of three papers. Panel proposals must include abstracts for all three papers in addition to a short description of the panel theme.
Deadline for submission of abstracts: 20 January 2017
Please submit your proposals in the form of anonymous MS Word documents to: dhs-2017@ifikk.uio.no
Convenor: Kjetil Fallan
Co-convenors: Ingrid Halland, Ida Kamilla Lie, Gabriele Oropallo, and Denise Hagströmer

AIS/Design. Storia e Ricerche - No. 10 - October 2017
Design Histories Through and From Sources
“AIS/Design. Storia e Ricerche”, the online, open-access, peer-reviewed journal of the Italian Association of Design Historians, will celebrate the publication of its 10th issue in 2017.
Since its founding in 2013, the journal has provided a historical perspective on such topics as the design of materials (No. 4), design for the food industry (No. 5), the relationship of designers with writing (No. 6 ), the designer's workspace (No. 7). Two more thematic issues are currently under preparation, dedicated to the digital revolution in the field of graphic design (No. 8, October 2016) and to the figure of the designer/educator Enzo Frateili (No. 9, March 2017).
On the occasion of its 10th release (October 2017), “AIS/Design. Storia e Ricerche” will publish a miscellaneous issue that will feature research studies on a variety of topics proposed by the authors, with a specific focus on the use of primary sources. The fil rouge of the issue will therefore be methodological.
This issue of the journal, titled “Design Histories Through and From Sources”, aims to gather original contributions based on the examination, study and interpretation of primary sources available in different forms – physical/analogue or digital – including textual, iconographic or multimedia sources, archival files as well as oral testimony. We are looking for papers that will not only delve into the analysis of specific sources, but will also reflect on the use of these sources and on the challenges and opportunities they represent for the historiography of design.
Contemporary historical narrative tends to privilege storytelling, rather than relying on the collection, organization, comparative study and interpretation of first-hand data and information. At the same time, the growing number of sources and documents, often characterised by instability, typological heterogeneity, different media and formats, uncertainty with regards to their context of reference (multimedia and digital, for example, or oral sources), makes the historian's work more challenging and broadens the scope of history making.
Issue 10 of “AIS/Design. Storia e Ricerche” is seeking articles that:
• offer an original reconstruction of stories of design and design culture (that may even contrast with previous, accepted interpretations) based on the study of primary sources, and that will also critically discuss the specificity of the sources consulted and contextualise their use in the phases of research and interpretation;
• reflect more broadly (again on the basis of first-hand knowledge and experience of primary sources) on the potential of primary sources to provide new perspectives on the history of design; on the challenges and methodological opportunities offered by the heterogeneity of sources, formats and media; on the types of sources that can be used to address the multiple histories of design (e.g. in different national contexts); on the role and contribution of the various figures involved in the processes of preservation, interpretation and utilization of sources, from historians to people who work in archives, to designers themselves.
SUBMISSION DEADLINES AND CONTACTS
All submissions are subject to blind peer-review.
Deadlines are as follows:
• November 14, 2016: abstract submission; the abstract (max. 300 words) will illustrate the contribution proposal (specifying the types of sources that will be used, the methodological and historiographic approach that the author/s intend to sustain); it will include the title, 5 keywords and a short biography (max. 150 words).The abstract may be in English (or English and Italian)
• December 5, 2016: authors will be notified of the editors’ interest in the proposal;
• April 24, 2017: full paper submission;
• By June 19: authors will be notified of the peer-review’s outcome and of the eventual acceptance of their papers (changes or additional work may be needed in view of publication);
• July 31: final paper submission.
All submissions should be sent to: editors@aisdesign.org
and cc: journal@aisdesign.org
For information and questions contact the editors at: editors@aisdesign.org
TYPES of CONTRIBUTIONS and MANUSCRIPT PREPARATION
All proposed contributions must be original texts. Papers that are beyond the scope of the journal, that have previously been submitted to other journals or have already been featured (in any language), or that replicate texts published elsewhere, will be rejected without peer review.
Contributions will fall into the following categories:
1. Essay (contributions presenting a theoretical, critical, and methodological stance that offer an in-depth discussion or re-reading of broad historical arguments and questions) (max. 8000 words, including notes, references, captions)
2. Research study (papers based on studies conducted on primary sources and offering original historical insight into specific topics or stories) (max. 8000 words, including notes, references, captions)
3. Micro-history (papers that analyse particular and specific stories, which have been neglected to date or refer to the border areas of the discipline) (max. 4000 words, including notes, references, captions)
Full papers will be accompanied by a short abstract (max. 150 words), a list of 5 keywords, and by a short biographical note (max. 150 words).
Style and preparation guidelines are available from https://docs.google.com/document/d/1Az4XgylBlt6MTTyA5e-Xc9uhED6H2DMq_owo-P_YULQ/view.
To complement their contribution, authors can submit up to 10 images (copyright-free images or images for which authors have obtained the right/permission of publication), accompanied by full captions (including credits).

For the series “Making Sense of History” by Berghahn Books editions, the volume edited by Kjetil Fallan and Grace Lees-Maffei: Designing Worlds National Design Histories in an Age of Globalization, will be puplished on June 30th 2016.
From consumer products to architecture to advertising to digital technology, design is an undeniably global phenomenon. Yet despite their professed transnational perspective, historical studies of design have all too often succumbed to a bias toward Western, industrialized nations. This diverse but rigorously curated collection recalibrates our understanding of design history, reassessing regional and national cultures while situating them within an international context. Here, contributors from five continents offer nuanced studies that range from South Africa to the Czech Republic, all the while sensitive to the complexities of local variation and the role of nation-states in identity construction.
For additional information:
http://www.berghahnbooks.com/title.php?rowtag=FallanDesigning

“… throughout its brief history, the computer has already made contact with possibly all aspects of modern life and society. ‘Contact’, I believe, is the appropriate term when we talk about the role and opportunities that are offered by what can be considered the most advanced tool in the field of graphic arts, design and visual communication in general. Indeed, as in many other fields, we have just begun to scratch the surface of the potential applications of the computer.” - Helmut Flohr, “Il ruolo dei calcolatori nelle comunicazioni visive” (The role of computers in visual communication), in Poliedro, 4, Aiap Bulletin, 1967.

The advent of the electronic and digital age, since the end of WWII, has revealed new opportunities and opened new paths in the field of communication, not least for graphic design. The subsequent spread of computer usage beyond the professional sphere, the relative democratization of communication tools, and the rise of new media towards the end of the past century, however, have confronted designers with a number of radical transformations and challenges that have led some commentators to repeatedly announce the end of graphic design as a specialised profession. Though this has not happened, the last half-century has brought changes that have certainly affected every aspect of graphic design and led to a redefinition of the discipline at both the operational and the conceptual levels.
In the years immediately following WWII, well before computers offered designers actual tools, the rise of cybernetics and computer science spawned an ample range of futuristic imagery and provided inspiration for the systematic visual organization of information and knowledge. Since the 1960s, the gradual introduction of photographic typesetting and composition challenged designers to address new production techniques and new specialised professional figures, while opening up a landscape of new expressive and aesthetic possibilities. After the early pioneering experiences of the 1970s, the last two decades of the twentieth century brought about a veritable revolution: the introduction of consumer GUI and editorial software and the spread of desktop publishing definitively altered the entire working process, from type design to printing. Subsequently the advent of the Internet and the world wide web, the introduction of new devices and the convergence of diverse media, radically changed the way users interact with communication artefacts.
These changes transformed the processes of production, dissemination and utilization of visual communication, making graphic design work easier and faster, but also sliding the position of graphic designers in opposite directions, towards greater or lesser control, convergence or divergence with regards to other fields, the integration or hybridization of tools, and the specialisation of skills. On the one hand, the new tools have given designers direct access to specific aspects and phases of the production, mediation and circulation of communication that had previously been out of their reach, opening up new possibilities for design. On the other hand, the development of new media formats and artefacts (eg. CD-ROMs, websites) have confronted graphic designers with a different kind of complexity, which requires new knowledge and expertise that intersect with other technical and design areas – in particular programming and interaction design – fostering experimentation as well as resistance, emblematic of which is, for example, the contradistinction between graphic design for printing and multimedia design.
Over time, these phenomena have alternately strengthened and weakened specific areas of design expertise, repeatedly causing disciplinary boundaries to be questioned, prompting the design community to reflect on the profession and to confront new demands in the field of design education; they have also fostered the spread of new vocabularies, metaphors and definitions, from the rhetoric of “hypertext” to the notions of the “designer as producer” and the “digital designer”; and they have contributed to the emergence of new trends in style and expression, marked by the contamination and hybridization between different creative fields that have fueled the debate on the question of a new digital aesthetic. At the same time it should not be forgotten that graphic designers have played a role in the very process of communicating and mediating these technological innovations to a vast audience of potential users and consumers who, in turn, thanks to the gradual accessibility of tools and technology, have become more and more actively involved in the actual production of visual communication.
While, over the years, these changes have received attention in the press and in the critical debate, from a historical point of view they are yet to be thoroughly documented and investigated.
Thirty years after the desktop publishing revolution, it seems important to begin to recognize the historical relevance of the longest period of intersection, convergence and tension produced when graphic design “made contact” with technological innovations, and therefore to reconsider the impact they have had on the conception, practice and culture of graphic design.
The 9th issue of “AIS/Design. Storia e Ricerche” will address the history of the years that graphic design made contact with new technologies and media, from the postwar period to the new millennium, with a focus on the emergence of new areas of design and new typologies of artefacts. The aim is to gather original historical contributions that reconstruct and analyse the different ways in which the various technologies have become a tool, a medium, an idea and a source of inspiration for graphic design, and in particular articles that deal with the following issues and aspects:

The impact of technologies, media and devices on roles, skills and knowledge in graphic design; how they have changed workflows – in and out of the graphic design office –, design tools, the design process and the production, mediation and dissemination of visual communication;

How graphic design and designers addressed the rise of new areas of design and new communication artefacts (eg. web design, interaction design, game design, motion graphics);

Stories of convergence with other areas of technical and design competence as well as stories of resistance to change, rejection of hybridization, and eventual retreat into more traditional roles and into revivalism of pre-digital techniques and media;

Analysis of graphic design’s contribution to the field of new media and new formats, even in directions that have been superseded due to accelerated or forced obsolescence (eg. CD-ROMs, hypertextual and multimedia resources etc.);

Aesthetics, styles and visual language related to the use of new tools and technologies;

The impact of new technologies on the concept, organization and planning of graphic design education and curricula;

The theoretical debate and the critical discourse, as carried out, for example, in specialised magazines and journals, and the literature concerning graphic design and the role of the graphic designer in relation to the introduction of new technologies and media;

The role played by graphic design in communicating electronic and digital technology to diverse audiences, and in shaping a new imagery associated with these innovations.

SUBMISSION DEADLINES AND CONTACTS
All submissions are subject to blind peer-review.
Important dates:
• January 4, 2016: submission of abstracts of proposed contributions; the abstract (max. 300 words; in English or Italian) illustrating the proposal, will include the title and 5 keywords; authors should also include a short biographical note (max. 150 words);
• by January 25:authors will be notified of the editors’ interest in, and acceptance of, the proposed contributions;
• April 19: full paper submission; papers should be prepared according to the given style guidelines; submission will include a short abstract, 5 keywords, a short biographical note about the author/s, a set of images and captions (see below, under “Types of contributions and manuscript preparation”);
• by May 31: authors will be notified of the peer-review’s outcome and of the eventual acceptance of their papers (changes or additional work may be needed in view of publication);
• June 21: final paper submission.
All submissions should be sent to: editors@aisdesign.org
and cc: journal@aisdesign.org
For information and questions contact the editors at: editors@aisdesign.org
TYPES of CONTRIBUTIONS and MANUSCRIPT PREPARATION
All proposed contributions must be original texts. Papers that are beyond the scope of the journal, that have previously been submitted to other journals or have already been featured (in any language), or that replicate texts published elsewhere, will be rejected without peer review.
Contributions will fall into the following categories:
1. Essay (contributions presenting a theoretical, critical, and methodological stance that offer an in-depth discussion or re-reading of broad historical arguments and questions) (max. 8000 words, including notes, references, captions)
2. Research study (papers based on studies conducted on primary sources and offering original historical insight into specific topics or stories) (max. 8000 words, including notes, references, captions)
3. Micro-history (papers that analyse particular and specific stories, which have been neglected to date or refer to the border areas of the discipline) (max. 4000 words, including notes, references, captions)
Full papers will be accompanied by a short abstract (max. 150 words), a list of 5 keywords, and by a short biographical note (max. 150 words).
Style and preparation guidelines are available from https://docs.google.com/document/d/1Az4XgylBlt6MTTyA5e-Xc9uhED6H2DMq_owo-P_YULQ/view.
To complement their contribution, authors can submit up to 10 images (copyright-free images or images for which authors have obtained the right/permission of publication), accompanied by full captions (including credits).

We inform you that, unfortunately, the publication online of the issue "Designers and writing in the twentieth century” of “AIS/Design. Storia e Ricerche” has been delayed because of a problem occurred to the server that hosts the journal’s database: the functionality and, most imporantly, the security of the website were unfortunately damaged and procedures for restoring them will require some time.

More details on the release date will be provided as soon as the web developer will have solved the issue. We apologize for the inconvenience and thank you once again for your patience.

For students of design, professional product designers, and anyone interested in design equally indispensable: the fully revised and updated edition of the reference work on product design. The book traces the history of product design and its current developments, and presents the most important principles of design theory and methodology, looking in particular at the communicative function of products and highlighting aspects such as corporate and service design, design management, strategic design, interface/interaction design and human design..
From the content:
Design and history: The Bauhaus; The Ulm School of Design; The Example of Braun; The Art of Design
Design and Globalization
Design and Methodology: Epistemological Methods in Design
Design and Theory: Aspects of the Disciplinary Design Theory
Design and its Context: From Corporate Design to Service Design
Product Language and Product Semiotics
Architecture and Design
Design and Society
Design and Technological Progress

AIS/Design. Storia e Ricerche” – n. 7 (December 2015)
Design at work: the history of design between the profession and industry
edited by Fiorella Bulegato and Dario Scodeller
* abstract submission deadline 8 June June 19 (extended deadline)*“AIS/Design. Storia e ricerche” is the peer-reviewed online journal of the Italian Association of Design Historians, dedicated to the advancement of research into every aspect of design history and to the publication of higher scientific research. Issue number 7, coordinated by Fiorella Bulegato and Dario Scodeller, is dedicated to the work of designers in the many different forms in which it has been expressed and developed since the 1930s, in the fields of product, visual and exhibition design. The intent is to examine, taking a point of view from within the profession, the relationship between design autonomy, and the constraints or opportunities represented by the context of organization, production and distribution – intrinsic to manufacturing companies and institutions – within which the designer must operate.CALL FOR PAPERS
The economic, social, technological and cultural transformations underway, especially since the end of the short twentieth century as a result of the so-called third industrial revolution, are modifying consolidated production models – considering, for example, the impact of digital fabrication on the process of ideation, design and production, or the perspectives of open design. In this scenario it becomes increasingly urgent to reflect upon the role of the designer in the process of producing artefacts and on the transformations that the profession has always undergone.
The many ways that the design process has been conceived and carried out, is a field of investigation that has been by and large neglected by studies on design history, even in biographical research. To focus on the context in which the designer works, on the organization and development of his work and on the interferences, influences and collaborations it entails, studying the collective effort of all the subjects involved, can help to provide a more accurate reconstruction of the complex matter of design.
Apart from the cultural context, the designer has always worked in a specific operative milieu distinguished by rituals, practices and routines, in which the design process develops through meetings, discussions of briefs, strategic analyses, research, concepts, representations, presentations of proposals and progress reports, de-briefing, development of working drawings, problem-solving, construction of models and prototypes; a process in which the design is constantly challenged, and is the result of the degree of constraint that the designer is willing to accept and of the freedom he can carve out of his relationship with his client and with the other actors engaged in the development of a product or a communication strategy.
On the other hand the designer, whether an independent professional or employed by a manufacturing company, has always had to deal with many different professional figures and the results, in the light of historic research, appear to be the result of a system of relations with technical, commercial and strategic and other figures, rather than a two-way relationship between a designer and an entrepreneur.
This issue of “AIS/Design Storia e Ricerche” intends to shed a light on the many roles and responsibilities that designers have shouldered since the 1930s, and that their work has generated within manufacturing companies or working for manufacturing companies as a consultant and professional; the goal is in particular to collect original research studies that rely on the analysis of literature and primary sources to address one or more of the following aspects:
> the designer within a manufacturing company: the relationship of the designer with different professional figures (the entrepreneur, management, technical figures, marketing and strategy, etc.) has led to experiences channelled within consolidated design processes, sometimes changing or reinventing their form, with roles and contributions that have yet to be explored by design histories;
> the designer as art director: the role of this figure in the processes of strategic planning, ideation, development and innovation, in the construction of new company identities and in the strategic positioning of manufacturing companies;
> the designer and industrial know-how: the relation between the designer’s autonomous experimentation and control over the final outcome in the relationship between the designer and the roles of the technician and director of production;
> the experience of working in a team or as a collective; the design project and group dynamics;
> the dialogue with the entrepreneur: case studies of fertile relationships between professional designers and entrepreneurs, with a preference for little-explored themes that can open new critical perspectives based on original documentary sources or on new understandings of known sources;
> the relationship, during the process of developing products and communication artefacts, between the designer and “intermediary” professional roles (that may no longer exist) such as the model-maker, the prototype developer, the photo-lithographer, the colour corrector, the layout artist, the typesetter and the new professional roles that have grown out of digital prototyping since the 1980s;
> the designer in the firm: the practice, organization and management of the creative process and the development of the working drawing within a professional firm and the relationship between the designer and his staff;
> the designer-entrepreneur: when the designer produces his own products.
SUBMISSION DEADLINES AND CONTACTS
All papers are subject to blind peer-review.
The deadlines are as follows:
• June 8June 19 2015 (extended deadline): submission of an abstract (max. 300 words or 2000 characters) illustrating the contribution proposal; the abstract, complete with title, must include a list of 5 keywords, and must be submitted in English or Italian;
• June 30, 2015: authors will be notified of the acceptance of their abstract;
• September 14, 2015: full paper submission; papers should be prepared according to the given style guidelines; submission will include an abstract, 5 keywords, a biographical note about the author/s, a set of images and captions (see below, under “Types of contributions and manuscript preparation”);
• October 16, 2015: authors will be notified of the final acceptance of their papers;
• November 13, 2015: final paper submission for publication.
All submissions should be sent on or before the deadline to: bulegato@iuav.it, dario.scodeller@unirsm.sm and cc: editors@aisdesign.org.
For information and questions please contact the editors at: bulegato@iuav.it, dario.scodeller@unirsm.sm
TYPES of CONTRIBUTIONS and MANUSCRIPT PREPARATION
All submitted contributions must be original texts. Papers that are beyond the scope of the journal, that have previously been submitted to other journals or have already been published in magazines or books in Italian or in any other language, or that replicate, in words or meaning, texts published elsewhere, will be rejected without peer review.
The contributions will be divided into the following categories:
1. essays (contributions presenting a theoretical, critical, and methodological stance, that offer an in-depth exploration, discussion or new interpretation of broad historical arguments and questions) (max. 50,000 characters, including notes, bibliographical references and captions);
2. research studies (original papers on specific historical-analytical issues, based on studies conducted on primary sources and offering original historical insight into specific topics or stories) (max. 50,000 characters, including notes, bibliographical references and captions);
3. micro-histories (papers distinguished by the peculiar or innovative nature of the theme, with an analytical approach to original or circumscribed stories, or stories that have been neglected to date or refer to the border areas of the discipline) (max. 30,000 characters, including notes, bibliographical references and captions).
Final papers for publication must be accompanied by a short abstract (max. 150 words or 1000 characters) in Italian or in English, a list of 5 keywords referring to the themes and the authors of the paper, and a short biographical note (max. 150 words or 1000 characters), in Italian or in English.
In view of this submission, we ask you to prepare the manuscripts and required materials following the guidelines available at https://docs.google.com/document/d/1Az4XgylBlt6MTTyA5e-Xc9uhED6H2DMq_owo-P_YULQ/view
To complement their contribution, authors may submit up to 10 copyright-free images or images for which authors have obtained the right/permission for publication (for an online magazine), accompanied by full captions that include credits.

This article is available in Italian. For the sake of viewer convenience, the content is shown below in the alternative language. You may click the link to switch the active language.

DATE
May 14-15, 2015
VENUE
Yasar University, İzmir
KEYNOTE SPEAKER
Jeremy Aynsley
Professor of Design History, University of Brighton.
Chair, Design History Society UK
THEME
“It was inevitable:”
Reads the opening of Nobel Laureate Gabriel Garcia Marquez’s much
acclaimed book, Love in The Time of Cholera. “It was inevitable: the
scent of bitter almonds always reminded him of the fate of unrequited
love.” And it is inevitable: every news item on wars, revolts and disasters
reminds us of the fate of people suffering. It is inevitable for designers
not to ponder the place of design in a world in turmoil. Turmoil, as a
state of great disturbance, confusion, or uncertainty may apply to
subjects as well as cultures, societies, and marginalized identities.
What are the potentials and shortcomings of design when people face
constant fear, danger, death, hunger and sickness; when they strive to
continue their lives in search of new normalcies in unsettling, unhomely
and unfriendly environments? Is it possible to talk about an emancipatory
position for design under these circumstances? What can be the designer’s
capacity and role in anxiety-ridden contexts embedded in uncertainty? How
does design respond to turmoil in various scales and define, reinforce, or
exacerbate such conditions? Can design resist, preempt, or avert turmoil?
This year’s symposium adresses such questions under specific conditions
of displacement, replacement and emplacement. These are highly charged
terms, loaded with multiple meanings, some of which are cited below to
indicate the span of possible approaches for symposium presentations.
Papers are welcome to focus on one of the thematic categories or their
intersections at various levels in the context of different design fields including
spaces, buildings, industrial products, graphics, clothing and others.
Displacement: 1. The removal of someone or something by
someone or something else which takes their place; 2. The enforced
departure of people from their homes, typically because of war,
persecution, or natural disaster; 3. (Psychoanalysis) The unconscious
transfer of an intense emotion from one object to another
• Geographical displacement, i.e. war and forced migration
• Cultural displacement, i.e., hybrid cultural practices caused by migration
• Professional displacement, i.e., unprecedented
tasks for established professions
• Technological displacement, i.e., new media taking
the place of the traditional desigers’ role
• Domestic displacement, i.e. places of the homeless
Replacement: 1. A person or thing that takes the place of another; 2. A
person who fills the role of (someone or something) with a substitute; 3. An
immediate renewal of an unsuccessful attack, often while still on the lunge
• Corporeal replacement, i.e. prosthesis after personal turmoil or traumas
• Replacement of needs and priorities in everyday life
• Replacement of realities, i.e. the role of histories, memories,
dreams and hopes in coping with turmoil.
Emplacement: 1. A structure on or in which something is
firmly placed; 2. A platform or defended position where a gun
is placed for firing; 3. (chiefly Geology) The process or state
of setting something in place or being set in place
• Geographical emplacement, i.e. refugee camps
• Urban emplacement, i.e. urban renewal
• Corporeal emplacement, i.e. migrant enclaves
• Cultural emplacement, i.e. gentrification
Participants are invited to address these or similar themes as they relate to
design discourses, production processes, products, producers and users.
CALL FOR PAPERS
Those who are interested in contributing papers to the tenth 4T
Symposium are invited to submit a title and an abstract of 250-300 words
through EasyChair (https://easychair.org/conferences/?conf=5t2015)
by January 30th 2015. Registration to EasyChair is essential in order
to submit abstracts. The symposium language is English, therefore
all abstracts, presentations and papers should be in English. For any
further questions please contact Bahar Emgin (bahar.emgin@yasar.edu.
tr). Selected proposals will be announced on February 27th, 2015.
Deadlines will not be deferred.
For further information please visit conference website
http://symposium4t.yasar.edu.tr/
ORGANIZERS
Prof. Dr. Tevfik Balcıoğlu
Prof. Dr. Gülsüm Baydar
ORGANIZING BOARD
Assoc. Prof. Dr. Özgen Osman Demirbaş
Assoc. Prof. Dr. Şebnem Yücel
Assist. Prof. Dr. Zeynep Arda
Dr. Özlem Taşkın Erten
Ömer Durmaz
COORDINATOR
Dr. Bahar Emgin
ORGANIZING COMMITTEE
Didem Dönmez
Yasemin Oksel
Selin Gençtürk
Eda Paykoç
GRAPHIC DESIGN
Umut Altıntaş
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Design in the food industry: culture, products, communicationAIS / Design. Storia e ricercheExpo 2015 special issue edited by Rosa Chiesa, Ali Filippini, Gianluca Grigatti
The relationship between design and food is one of the most topical issues in the design community today. There is increasing debate about “food design” in particular, a category the boundaries of which remain blurred and the definition a matter of discussion. The current interest expressed by specialists and the wider public in food/design and the food supply chain has grown out of a rising mass attention to food (the popularity of television formats focused on cooking, the slow-food culture, the proliferation of publications and exhibitions dedicated to this theme, spurred by the direct relationship to the theme of Expo 2015).
From a historical perspective, however, investigation into the theme has been rather sporadic and uneven, addressing design issues relative to patents, to more specifically functional aspects and to product configuration, to communication and consumption, to social and anthropological questions. Food, on the contrary, which is included in the history of the material culture and, since the beginning of industrial food production, to the history of manufacturing, rightly stakes its claim as a significant theme in the history of design. We therefore believe it is important to highlight research studies within the field of design history that focus on issues involving the relationship between food and design, food and production, food and distribution, in a perspective that emphasizes:
• the evolution of the link between the industrial and the food culture: the relationship between machine/raw ingredients; the technology of the food production and transformation systems; the idea of the artificial (color, texture, form) and the manipulation of food, the study of specific packing materials;
• the design of communication for food: the development of packaging and graphic design projects as a response to the requirements of distribution;
• the theme of food distribution in relation to the places where it is presented, sold and consumed, considering the value of collective imagery in the matter of food as it relates to the traditional venues for collective food services (from cafeterias to service design), to the new modern and post-modern modalities (from the supermarket to vending machines, to eating out), and the relative instruments.
The methodological approach seeks to bring together the perspective typical respectively of the design historian and the historian of manufacturing, without neglecting the contribution of other, only apparently distant disciplines, such as nutritional science. In particular, the articles should contemplate the historical moment of transition from the artisanal culture of food production, to the culture of industrial food production and packaging, addressing the specific issues involved in the diffusion, distribution and consumption of industrial food. Without automatically excluding other contributions, preference will be given to research on twentieth-century Italian case studies.

AIS/Design. Storia e Ricerche - No. 5 Designers and Writing in the Twentieth Century edited by Fiorella Bulegato, Maddalena Dalla Mura and Carlo Vinti
AIS/Design. Storia e Ricerche is a peer-reviewed online journal promoted by the Italian Society of Design Historians and dedicated to the advancement of the history and historiography of design.
Issue No. 5, which inaugurates the editorial programme for the years 2015-2016, coordinated by Fiorella Bulegato, Maddalena Dalla Mura and Carlo Vinti, will be dedicated to the relationship between designers and writing and to investigating the impact it has had on the development of the culture of design in the twentieth century.
CALL FOR PAPERS
The development of the culture of design has been marked by the direct involvement of designers in writing. Throughout the twentieth century, designers have written about their own work and the work of their peers; they have elaborated manifestos, programmes and texts that have been crucial to the disciplinary debate, narrated the history of design from their own perspective; founded and directed periodicals; authored books and teaching manuals. Indeed, some designers have engaged in designing the layout of their publications, often developing unique forms of writing that enhance the visual components of the text. Apart from its relevance to the practice of individual designers, the intersection of design and writing has played an evident role in certain national contexts, at specific moments in history. One such case is Italy, for example, which since the 1930s has developed a significant tradition of designers distinguished for their prolific and tireless writing, for their ability to integrate professional practice and critical thinking, contributing to nurture the system for the production and mediation of Italian design.
In recent years, not least in the wake of an increased interest in design criticism and the emergence of so-called “critical” design, the relationship between writing and design – including its historical developments – has gained renewed attention (see in particular Writing Design: Words and Objects, ed. by Grace Lees-Maffei, Berg, 2012). However, the influence and impact that the theoretical, critical and historical, programmatic and educational writings of designers have had on the development of the culture of design, in different cultural contexts and historical circumstances, has yet to be fully analysed.
This issue of AIS/Design. Storia e Ricerche aims to investigate the diversified engagement of designers with writing activities and the different genres they have practiced in different cultural contexts, over the twentieth century, by collecting original research studies and critical reflections that will integrate the analysis of literature and primary sources to discuss one or more of the following issues:
– the role of designers in the advancement of the theoretical, critical and historical discourse on design;
– the role of writing “in” the practice of design and “as” design practice, in the work of individual figures, groups or movements, and in particular in the framework surrounding the more conceptual and self-reflective instances of design;
– the influence of designers’ writings in different languages and national contexts (e.g. through translations and editions);
– the contribution of magazines, publications and book series directed by designers to the critical-theoretical discourse of design and to the mediation of the design culture towards specialized and lay audiences;
– the specific qualities of writing by designers in such genres as textbooks and educational publishing, auto-biographical narrative and testimony, the argumentative essay, criticism, magazine columns, news, editorial text etc.;
– the case of designers who have concurrently held the roles of author, editor and designer of the editorial product, combining writing and graphic design.
SUBMISSION DEADLINES AND CONTACTS
All submissions are subject to blind peer-review.
Important dates:
- September 29October 10, 2014 (extended deadline): abstract submission; the abstract (max. 300 words) illustrating the contribution proposal, will include the title and 5 keywords; the abstract can be in English (or English and Italian);
- January 12, 2015: full paper submission; papers should be prepared according to the given style guidelines; submission will include a short abstract, 5 keywords, a short biographical note about the author/s, a set of images and captions (see below, under “Types of contributions and manuscript preparation”);
- February 6, 2015: authors will be notified of the final acceptance of their papers;
- March 2, 2015: final paper submission.
All submissions should be sent to: editors@aisdesign.org and cc: journal@aisdesign.org
For information and questions contact the editors at: editors@aisdesign.orgTYPES of CONTRIBUTIONS and MANUSCRIPT PREPARATION
All proposed contributions must be original texts. Papers that are beyond the scope of the journal, that have previously been submitted to other journals or have already been featured (in any language), or that replicate texts published elsewhere, will be rejected without peer review.
Contributions will fall into the following categories:
1. Essay (contributions presenting a theoretical, critical, and methodological stance that offer an in-depth discussion or re-reading of broad historical arguments and questions) (max. 8000 words, including notes, references, captions)
2. Research study (papers based on studies conducted on primary sources and offering original historical insight into specific topics or stories) (max. 8000 words, including notes, references, captions)
3. Micro-history (papers that analyse particular and specific stories, which have been neglected to date or refer to the border areas of the discipline) (max. 4000 words, including notes, references, captions)
Full papers will be accompanied by a short abstract (max. 150 words), a list of 5 keywords, and by a short biographical note (max. 150 words).
Style and preparation guidelines for authors are currently under revision; they will be soon made available online.
To complement their contribution, authors can submit up to 10 images (copyright-free images or images for which authors have obtained the right/permission of publication), accompanied by full captions (including credits).

The call has been launched for the 3rd international conference NOMADIC INTERIORS: Living and inhabiting in an age of migrations, that will be held on May 21-22, 2015, at the Politecnico di Milano.
This conference aims to deal with such issues as cultural, ethnic, religious and political identity and diversity, and with the question of global nomadism.
More details about the call can be found at http://www.interiorsforumworld.net/home/ifw2015/

AIS/Design Storia e Ricerche # 4
Italian Material Design: learning from Historyedited by G. Bosoni e M. Ferrara
Several theoretical contributions (Bosoni & De Giorgi 1983; Branzi 1983, 1984, 1996; Antonelli 1995; Doveil, 2002)[2], analyzing the history of Italian products, pointed out a particular capacity of Italian design to apply materials and technological processes. Italian designers’ and entrepreneurs’ way of work that “imaged” and “interpreted” materials, conferred a specific character to the Italian industrial design, generating innovation both of languages and uses, to the point that a new sense of materials was defined, re-elaborated by the Italian design research, one that goes beyond the strictly technological innovation.
There was the coming out of the idea of an Italian way to technology innovation in the field of design that bases itself upon a thin historical dialogue between technique and aesthetic and on the particular attention that designers dedicated to the symbolic-communicative values of materials.This specific design method, led to a generation of manufactures that still today wonder for their surprising and sophisticated use of materials and techniques, as well as for the elaboration of ideas that broke up a consolidate knowledge introducing elements of discontinuity – compared to the common thought – anticipating social aspirations and supporting the growth of new life styles.
This “Italian way” of doing innovation, communicated through exhibitions, polish visual artefacts and theoretical materials diffused by media, is the place of a mythology that still supports the image of the Italian design, even if in the last decades only few researches have gone deeper into the subject trying to understand the motivations at the base or to develop this supposed Italian peculiarity.
CALL FOR ARTICLES
The 4th number of the “Ais/Design. Storia e Ricerche” Journal (expected journal publication November 2014), is proposed as an occasion of confrontation on the theme of the relationship between materials and Italian design. The aim of this call is to collect a series of original contributions with unpublished writings or re-positioning well known stories, that provide documentary evidence of the proposed topic (the particular attention of the Italian Design to materials, technologies and productive processes), with its various stories – product, fashion, interiors, visual, etc. – also focusing on how communication design contributed to build this myth. Even if based on the Italian history, the call also demands a other contributions that could compare foreign episodes and experiences with these Italian realities to better understand the specificities of the Italian case.
Authors could propose contributes (essays, researches, micro-stories) that deal with the call taking inspirations from the following questions:
- What could have been the creative and innovative dynamics in the relation materials-design-production in Italy? What the prominent moments, actors and above all histories not yet unveiled and technical flops?
- What kind of material innovation and production histories emerge from the political and economical history? What from the technological one, the history of industries and patents? How could these histories be read in the Italian design culture context? What kind of role had the conditions developed during some specific historical moments? What new reconstruction of the Italian material design emerges from the study of industries, exhibitions, collections and archives?
- How has Italian design contributed to build, diffuse and call into question the identity of materials and technologies? In which way have materials and productive processes been interpreted when defining a new life/identity/image of products? What kind of tensions and contradictions do stories of Italian design related to the material culture reveal?
- Which are the founding characteristics of the Italian culture of Material Design?
- Does This supposed peculiarity of the Italian design match with reality, or is it only a myth because the competence to apply materials is intrinsically connected to the designer’s know-how in every context? What are the relationships with international design theories and histories?
- If it is a specific Italian capacity, why is that so? What are the fundamental reasons that allowed this development? What kind of role have material culture, traditional crafts, relationships with arts, context conditions and practical know-hows had?
- What role have visual and exhibit design had in the creation of the myth of Italian Material Design? What kind of exhibitions and museums (art, applied art, science and technology, industrial heritage, fashion, architecture etc.) involved Italian materials design and which kind of narration emerged from them?
- In what way did Italian design contribute to stimulate the international design landscape toward a strong attention to the characteristics of materials and its interpretation?
Proposals that provide less known and studied histories, possibly documented by archive sources and inedited materials, will be particularly well accepted. The chronological focus for contributions will be the XX century; anyway also contributions that extend their view beyond this period can be taken into account. For the book reviews section, authors could propose reviews of books with pertinent topics related to this number of “Ais/Design. Storia e Ricerche”, as well as reviews of exhibitions related to the history of Italian design.
SUBMISSION DEADLINE AND CONTACT
Full texts must be received by July 25, 2014.
Submit to: journal@aisdesign.org and caporedattore@aisdesign.org
All texts will be blind reviewed by peer experts.
Authors will be informed of the results by August 25, 2014. Authors of accepted papers will submit the final version of their text by October 1, 2014.
To discuss proposals and for more information, please contact Marinella Ferrara and Giampiero Bosoni writing to: marinella.ferrara@polimi.it and giampiero.bosoni@polimi.it.
TYPES OF CONTRIBUTIONS
The proposed contribution must be original texts – not already appeared in other publications, journals or books in any language.
Texts will be divided into the following categories:
1. essays (texts with a theoretical, critical, and methodological stance that offer an in deep discussion or a re-reading of broad historical arguments and questions) [20,000-30,000 characters / 3,000-4,500 words]
2. research (writings based on studies conducted on primary sources and offering original historical insight into specific topics or stories) [20,000-30,000 characters / 3000-4500 words]
3. micro-histories (writings that analyze peculiar and specific stories, that have been neglected so far or that also draw on the border areas of the discipline) [10,000-15,000 characters / 1500-2250 words]
4. reviews (of exhibitions, books, major events etc.) [5000-10,000 characters / 800-1200 words]
5. news (events or exhibitions, publication of books, openings, etc.) to be published on the AisDesign website.
Each text will be accompanied by an abstract of up to 100 words (600 characters) both in Italian and English version (for a total of 200 words / 1200 characters), a list of max. 5 keywords in Italian and English, and by a short bio of the authors of max. 120 words (800 characters) both in Italian and English version (for a total of 240 words / 1600 characters).
About images/pictures, authors will provide copyright-free images or images for which they obtained rights/permission of publication (for “Ais/Design. Storia e Ricerche” online journal), accompanied by full captions (including credits). Images must be sent in JPG format with a minimum resolution of 580x700 pixel.
Detailed information about types of contributions (essays, research, micro-histories, reviews, news), texts and images editing and editorial guidelines, are available at the following links: http://www.aisdesign.org/aisd/rivista#call
[1] Bosoni G., M. De Giorgi, 1983 (a cura di), Il disegno dei materiali industriali/ The materials of design, 14, C.I.P.I.A. /Electa, Milano; A. Branzi, A., 1983, Merce e Metropoli, Epos, Palermo; Branzi, A.,1984, La casa calda, Idea Books, Milan; Branzi, A., 1996, Il design italiano 1964-1990, Electa, Milano; Antonelli, P., 1995, Mutant Materials in Contemporary Design, MoMA, New York; Doveil, F., 2002, iMade: l’innovazione materiale nell’industria italiana dell’arredamento, Federlegno Arredo, Milano.
[2] Bosoni G., M. De Giorgi, 1983 (eds.), Il disegno dei materiali industriali/ The materials of design, 14, C.I.P.I.A. /Electa, Milan; A. Branzi, A., 1983, Merce e Metropoli, Epos, Palermo; Branzi, A.,1984, La casa calda, Idea Books, Milan; Branzi, A., 1996, Il design italiano 1964-1990, Electa, Milan; Antonelli, P., 1995, Mutant Materials in Contemporary Design, MoMA, New York; Doveil, F., 2002, iMade: l’innovazione materiale nell’industria italiana dell’arredamento, Federlegno Arredo, Milano.

Graphic Design: History and Practice
one-day conference, May 19, 2014
Faculty of Design and Art of the Free University of Bozen-Bolzano
Graphic Design: History and Practice is a one-day conference organised at the Faculty of Design and Art of the Free University of Bozen-Bolzano that will focus on the relationship of graphic design history and practice, their convergences and tensions.
The conference will gather international graphic design historians as well as designers who have been dealing with design history through writing, publishing, editorial and curatorial activities for a long time. Structured in two main panels, each including speeches and a discussion, the conference will address such issues as: narratives, methods, teaching and education, preservation and curation, gender issues, digital media, national contexts, critical practice, ethics, and audience.
Invited speakers are: Richard Hollis (keynote speaker), Gerda Breuer, Esther Cleven, Annick Lantenois, Mario Piazza, Adrian Shauhghnessy.
The conference is conceived and organised by Antonino Benincasa, Giorgio Camuffo and Christian Upmeier, all associate professors of visual communication at the Faculty of Design and Art of the Free University of Bozen-Bolzano, Maddalena Dalla Mura, research collaborator at the same Faculty, and Carlo Vinti, researcher at the Università di Camerino.
The conference is organised in collaboration with:
AIAP – Associazione italiana Progettazione per la comunicazione visiva
AIS/Design – Associazione italiana Storici del design
GdDG – Gesellschaft für Design Geschichte
Conference attendance is free. Registration is required.
More information at: http://graphic-design-history-and-practice.unibz.it/

2nd Conference of AIS/Design
Milan, November 28-29, 2013
Politecnico di Milano and Triennale di Milano - Saletta Lab
The 2nd Conference of the Italian Association of Design Historians (AIS/Design) will be held in Milan on November 28-29, 2013. The conference will focus on the role of history in the education of the designer as well as on the history of design schools. With these themes AIS/Design aims to contribute to call attention on, and to discuss, the broader issue of the gradual loss of relevance that the social sciences are undergoing within contemporary culture, and particularly in the field of education and research.
On the first day, the AIS/Design thematic committees, coordinated by Pier Paolo Peruccio and Dario Russo, will discuss these topics on the basis of the mapping work they have carried out of the teaching of design history in Italy and abroad. This meeting will be held at the Politecnico di Milano (via Durando 10, 4th floor, room adjacent to the Dean's office).
On November 29, at the Triennale (viale Alemagna 6, Lab room), the conference “Design History: A Discipline in the Making” will gather Italian scholars and theorists – including Giovanni Anceschi, Claudio Giunta, Pierluigi Nicolin – with the aim to discuss the role of history and the humanities in the context of contemporary globalized culture and in the specific field of design education.
The conference is free and open to all.
Download the program and abstract (only available in Italian).
Storia-del-design-Programma.pdfStoria-del-design-Abstract.pdf

CALL FOR ARTICLESItalian design: Museums, exhibitions, collections and archivesedited by Fiorella Bulegato and Maddalena Dalla Mura
Disponibile in versione italiana
Issue No. 3 of the online journal “Ais/Design. Storia e Ricerche,” to be released on March 2014, will be devoted to the history of Italian design as it appears through the lens of museums, exhibits, collections and archives.
This issue of the journal is intended as a continuation of the work initiated by the “Museums of design” committee of the Ais/Design (Italian Society of Design Historians) during the first meeting of the Society in December 2011 and the panel held on the occasion of the conference “Università, Musei, Archivi: Il design fa rete” organized at the Università IUAV of Venice in October 2012.
Call for contributions
Issue No. 3 of the “Ais/Design. Storia e Ricerche” journal is dedicated to the history of Italian design looked through the lens of museums, exhibits, collections and archives.
The goal is to compose a varied collection of original contributions that deal with the multiple histories of Italian design – product, visual communication, fashion etc. – as they appear through the history of museums, exhibitions and displays, collections and archives. The focus is on how, over time, museums, exhibitions, collections have helped build, interpret, spread or question Italian design.
Contributions (in the forms of essay, research, micro-history) that respond to the following questions will be welcome:

How museum, exhibition, display and collecting policies have helped build, circulate and question the identity of Italian design, in Italy and abroad?

How the representation of Italian design has been defined by inclusion or exclusion of names, objects, fields of design in the context of museums, exhibitions and collections?

What types of museums and exhibitions (applied arts, modern art, science and technology, industrial heritage, fashion, architecture etc.) have presented Italian design, and what different representations of it have emerged out of them?

What role have exhibition design and visual communication had in the interpretation and dissemination of Italian design towards the public?

To what extent, exhibitions have served or have been used as platforms for questioning and critiquing Italian design and design in Italy?

What histories of design emerge from the history of private and public collections, and what do they tell of design culture in Italy?

What tensions and contradictions – beyond the canonical and heroic narrative of Italian design and design culture – emerge from the history of museums, exhibitions, collections and archives?

How the study of collections and archives in museums and other institutions has helped to generate new reconstructions of Italian design?

The chronological focus of the issue is the twentieth century; however, contributions that extend the scope beyond this term are also welcome.
Trade fairs and merchandise exhibitions for sale are not the focus of this issue of the journal; however essays that discuss display policies of Italian design between culture and industry, museums and market, will also be considered.
Reviews of books that are relevant to the theme of the issue and of recent exhibitions that have dealt with Italian design will also be welcome.
Types of contributions
The proposed contribution must be an original text – not already appeared in other publications, journals or books in any language.
The texts will fall under the following categories:

essays (texts with a theoretical, critical, and methodological stance that offer an in deep discussion or re-reading of broad historical arguments and questions) [20,000-30,000 characters / 3,000-4,500 words]

research (writings based on studies conducted on primary sources and offering original historical insight into specific topics or stories) [20,000-30,000 characters / 3000-4500 words]

micro-histories (writings that analyze peculiar and specific stories, that have been neglected so far or that also draws on the border areas of the discipline) [10,000-15,000 characters / 1500-2250 words]

news (events or exhibitions, publication of books, openings, etc.) to be published in the website of the AisDesign.

Each text will be accompanied by an abstract of up to 100 words (600 characters) in Italian and in English (for a total of 200 words / 1200 characters), a list of max. 5 keywords in Italian and in English, and by a short biographical note of max. of 120 words (800 characters) in Italian and in English (for a total of 240 words / 1600 characters).
As concerns images/pictures, authors will provide copyright-free images or images for which they have obtained the right/permission of publication (for “Ais/Design. Storia e Ricerche” online journal), accompanied by full captions (including credits).
Detailed information on the types of contributions (essays, research, micro-histories, reviews, news), the preparation of texts and images and the editorial guidelines are available at the following links (in Italian only; English available soon): Guidelines AIS/Design
See also: AIS/Design: Call for paperSubmission deadline and contacts
Full texts must be received by October 14, 2013October 25, 2013 [extended deadline]. Submit to: ais.design.museums@gmail.com and journal@aisdesign.org
All texts will be blind reviewed by peer experts. Authors will be notified of the results by December 28, 2013. Authors of accepted papers will submit the final version of their text by January 27, 2014.
To discuss proposals and for more information, please contact Fiorella Bulegato and Maddalena Dalla Mura. Write to: ais.design.museums@gmail.com

Inventing Abstraction, 1910–1925 Museum Of Modern Art, New York December 23, 2012–April 15, 2013 In 1912, in several European cities, a handful of artists—Vasily Kandinsky, Frantisek Kupka, Francis Picabia, and Robert Delaunay—presented the first abstract pictures to the public. Inventing Abstraction, 1910–1925 celebrates the centennial of this bold new type of artwork, tracing the development of abstraction as it moved through a network of modern artists, from Marsden Hartley and Marcel Duchamp to Piet Mondrian and Kazimir Malevich, sweeping across nations and across media. http://www.moma.org/visit/calendar/exhibitions/1291http://www.moma.org/interactives/exhibitions/2012/inventingabstraction/?page=home

The coupDefouet International Congress on Art Nouveau will be held in Barcelona from 26 to 29 June 2013.
The Organising Committee hereby invites all experts who are interested in submitting papers to do so before 30 September 2012. The Art Nouveau European Route is organising this Congress to celebrate the ten years' existence of the magazine coupDefouet, the international magazine specialised in the dissemination of Art Nouveau.
The Scientific Committee for this Congress is coordinated by GRACMON, the University of Barcelona's Research Group on History of Art and Contemporary Design, while logistical organisation is the responsibility of the Institut del Paisatge Urbà at the Barcelona City Council, which publishes coupDefouet.
The thematic strands of the Congress are:
1. Art Nouveau Cities: Between Cosmopolitanism and Local Tradition
2. The Historiography of Art Nouveau (looking back on the past)
3 The Challenges Facing Art Nouveau Heritage (looking towards the future)
As well as this, two Seminars complete the Congress:
1. Research and Doctoral Theses in Progress
2. The Market and Collecting of Art Nouveau Objects

coupDefouet Call for Papers
Remember: the submission deadline is 30 September 2012!
To register, submit papers or receive more information, go to
www.artnouveau.eu

8th Conference of the International Committee for Design History and Design Studies

History marks territories that in some way or another are reflected in design.
Since the first ICDHS conference, held in Barcelona in 1999, significant steps were taken to draw attention to the nature of design studies, practice and history in a wider world context. Parallel to that, the configuration of design landscapes has been significantly altered by education, technology and national state policies intended to promote local industries and sites by means of design.

The 8th ICDHS conference, "Design Frontiers: territories, concepts, technologies", aims to discuss how design history and design studies may push the limits of design knowledge. The frontiers of design may be challenged by the exploration of new territories, by the establishment of new concepts, by the emergence of new technologies, as well as by rediscovering the past and by finding new ways of applying current wisdom.

8th Conference of the International Committee for Design History and Design Studies
3-6 September 2012
São Paulo - Brazil
University of São Paulo - Mackenzie Presbyterian University

The call for papers has just been published on ICDHS2012 website www.fau.usp.br/icdhs2012.